This About Acting |
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One of the most important ideas that I have learned from
is that one's purpose as a self and one's purpose as an actress must be
the same. Purpose is not taught in acting schools. It should be. We
would like to have a reason for acting which we can respect. Very often
we don't know our reasons, and think if we did know them, we wouldn't
them. Actors, like other artists, are subject to the great danger of
their art to be superior to and contemptuous of the "ordinary world,"
the audiences one hopes so much to impress! Aesthetic Realism is the
body of knowledge to give an aesthetic criterion for distinguishing
good and bad purposes in art and in life.
I began to act seriously when I was about twelve. But I
why I wanted to be an actress. I just had to be. I didn't like the
me (this is common), so I tried to escape me by being someone else. Ell
Siegel told me what I heard from no acting teacher before: that I was
to complete myself through difference. He said: "Acting shows that you
don't have to be fettered to yourself. You can be other people. . . .
big question is whether acting helps you to find out who you are or to
get away from who you are."
At the beginning, I used acting to get away from who I
was. I wanted
to play heroic parts, like Saint Joan, or poignant, wistful ones, like
Emily in Our Town, who says: "Goodbye. Goodbye, world. Goodbye,
Corners." The ordinary world for me was dull and oppressive. Also, I
want my family to have anything to do with my career. They were in a
It was soon after graduating from Performing Arts that I
began to study
Aesthetic Realism, and I was asked questions every actor needs to be
My feelings about acting, good and bad, were described, criticized,
I felt: This is me.
An excerpt from one of my early Aesthetic Realism
lessons shows something
of the change that took place in my mind:
SIEGEL. Reality has three moods: beneath, divine,
Which don't you like?
SIEGEL. I thought so. What is the homespun?
FIELDING. Reality, I guess.
SIEGEL. Homespun is the ability to see reality
not as a crisis.
. . . Do you think if there is no crisis, things are boring?
FIELDING. Yes. That's one reason I want to act, I
think. It seems
like another world.
SIEGEL. What do you see as boring?
FIELDING. Sometimes a whole day is boring.
SIEGEL. That's not specific. Things are boring
because you lump
them all together. Do you see an empty cotton spool as boring?
SIEGEL. You say that with the full depth of your
it is boring?
FIELDING. Maybe not.